What’s in a name? What “doublers” call themselves, part II

In my last post, I listed some alternate titles for “woodwind doubler.” Here are my thoughts on some of them.

Woodwind doubler (or just doubler) – I mentioned in my last post two problems with this one. The first is that “doubling” seems to indicate only two instruments; the second is that the term, in some contexts, has come to suggest musicians playing instruments on which they are not especially skilled. A third problem is that a layperson may not be able to infer the meaning (which they easily could with “flutist” or “saxophonist.”) Still in all, this is by far the most frequently used term for a player of multiple woodwind instruments, and is the quickest and clearest way to indicate just what it is that I do—provided that I’m speaking to someone in the music business.

Woodwind player – The immediate problem with this is that it isn’t clear enough. A doubler is all of these, but so is a musician who plays only clarinet. Using a plural form, as in woodwinds soloist, solves this problem at the expense of grammatical awkwardness. Woodwind man for some reason, seems to me to suggest a doubler, but it’s too slangy for professional use (ditto for woodwind-er), and of course has the problem of being gender-specific. “Woodwind woman” doesn’t quite have the same ring. “Woodwind person?”

A number of the titles I listed used either artist, soloist, specialist, performer, or instrumentalist (as in “woodwind artist,” “woodwind performer,” or “woodwind instrumentalist,” for example). “Artist,” “soloist,” and “specialist” have a touch of self-aggrandizement; okay for self-promotion (as of this writing, I’m using “woodwind artist” in my bio), but it would be nice to have a non-judgmental term that simply suggests a player of multiple woodwinds, whether of “artist” stature or not. “Performer” seems to go the other direction, making doubling sound like a stunt or novelty act. And “instrumentalist” is just plain redundant—you wouldn’t say “oboe instrumentalist.”

Quite a few possible titles use reed in them (i.e. “reed player,” “multi-reed instrumentalist”). The brevity of “reed player” is appealing, but seems to indicate a player of reed instruments only—though many of the doublers whose websites yielded “reed” titles count the flute among their instruments.

Oddly, Wikipedia currently has an entry for multireedist, but not “woodwind doubler.” (There is an entry for doubling, which gives definitions of the term in several musical and non-musical contexts; the closest it comes to addressing true woodwind doubling is the use of flute-piccolo doubling as an example. There is also an entry for multi-instrumentalist, which doesn’t mention woodwind doubling. [Wikipedia entries are subject to change.])

So, here’s my wish list for a title for what I am (currently “woodwind doubler”):

  • Vague enough to allow for any combination of woodwind instruments
  • Specific enough to show that I play instruments of multiple woodwind families
  • No built-in judgments (negative OR positive)
  • Clear, preferably even to a nonmusician
  • Concise and grammatically acceptable

“Multiple woodwind player?” How about “multiwoodwindist?” Hmm.

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  • Public domain woodwind clip art

    Artist Karen Hatzigeorgiou has posted some charming public domain images of woodwind instruments at her website, like this lovely clarinet. The others are in a similar pen-and-ink (or is it some kind of etching?) style.

    clarinet

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  • B-flat and A clarinets: redundant?

    I wrote this a few years back for a graduate school course. The professor, not a wind player, raised the question of why I limited the discussion to clarinets in B-flat and A, and ignored, for example, the C clarinet. The reason for this, which may not be obvious to a non-clarinetist, is that the B-flat and A instruments use the same mouthpieces, reeds, and sometimes even barrels. Since other sizes of clarinet require their own mouthpieces and reeds, there is a clearer separation between these instruments.

    Photo, Ollie Crafoord

    Alert concertgoers will be aware that the orchestral clarinetist is often seen on stage with not one, but two clarinets, which appear to be nearly identical. These are clarinets in the keys of B-flat and A, and, in truth, they very nearly are the same—identical in keywork and playing approach. The difference is one of an inch or so in length, giving the A clarinet a range that is deeper by one semitone.

    It seems a redundancy to have two instruments so close in range. The ubiquity of the B-flat and A clarinets is a vestige of the clarinet’s early days, when its simpler keywork made it poorly suited to playing in more than a handful of keys; early clarinetists owned several instruments of different transpositions so that they could play in whatever key was required. But the modern instrument has a more involved mechanism that allows much more chromatic agility. The problem that remains is that the clarinet has accumulated two hundred and fifty years of repertoire, some of which calls for the instrument in B-flat, some of which calls for the instrument in A, and even some that calls for a little of each. Read More “B-flat and A clarinets: redundant?”

  • Doubling-specific skills vs. instrument-specific skills

    I don’t think a woodwind player really learns the skill of “doubling” so much as he or she learns the skill of flute playing, plus the skill of saxophone playing, and so forth. 99% of being a good doubler is being a good flutist and a good saxophonist and whatever.

    There are only a few aspects of woodwind doubling that are unique to multi-instrumentalists. These are:

    • The physical act of switching instruments. This becomes an issue in Broadway-type situations when instrument changes sometimes need to happen very quickly. It’s worth practicing these little bits of choreography until they can be done as quickly, quietly, and safely as possible. Tips: own good, sturdy stands, and keep your instruments laid out in a consistent way.
    • The mental effort of switching instruments. Years of developing a fine clarinet embouchure can go right out the window when making a quick change from tenor saxophone. The problem isn’t with your lips, it’s with your focus. As you switch instruments, shift gears mentally, too. Tips: warm up thoroughly on each instrument before the rehearsal or gig, and take a brief (sometimes very brief) moment of meditation as you physically change instruments, so that you are 100% in clarinetist mode by the time the reed hits your lip.
    • The guts to play an instrument that isn’t your best one. Even if your secondary instruments are quite strong, it can be unnerving to perform on one instrument when you know you can do better on a different one. Courage! You’ll be that much more experienced when the next gig rolls around. Tips: be aware of your body—is your nervousness affecting your posture? Breath support? Hand relaxation? If so, simply recognizing the physical symptoms can be enough to relieve them. Focus on musical things that you may be able to bring to the table despite technical deficiencies, like blend or phrasing.

    Practice hard!

  • Switching between clarinets: tone production

    Switching between any two instruments, even two closely-related ones, is a challenging prospect. You must practice for many hours to do it well. But often people switching between clarinets (such as between B-flat clarinet and bass clarinet) are making larger changes than necessary.

    The fundamental concepts in clarinet tone production are breath support, voicing, and embouchure. These should remain basically the same whether you are playing the largest or smallest members of the clarinet family.

    Breath support should, in all cases, be powerful and constant. Voicing, even on low clarinets, should be high (think “cold air”). You may find the lower clarinets are somewhat more forgiving of lower voicings, and even that some pleasing effects can be achieved. But a consistently high voicing across the clarinet family pays off in intonation, evenness of tone, and ease of response.

    Embouchures must adapt, but really only to accommodate different sizes of mouthpiece. In general, the larger the instrument and mouthpiece, the more mouthpiece you will take into your mouth. However, this amount can vary even between two B-flat clarinet mouthpieces. To find the correct position for each of your mouthpieces, insert a piece of paper between the mouthpiece and reed. Where the paper stops is approximately the place where your lip should contact the reed.

    Beware advice suggesting that larger clarinets use a “looser” embouchure. Embouchures for all clarinets should be airtight, but not tight.

    The angle of the embouchure is also important. Clarinet mouthpieces of any size are best played at a relatively steep angle (compared to, say, a saxophone or oboe), around 30 degrees from vertical. Some larger clarinets, depending on their neck curves, seem to lend themselves to a more-horizontal angle. But bringing the bottom end of the clarinet closer to you helps to achieve a more optimal position.

    Fingerings are mostly the same for members of the clarinet family, but there are some exceptions and adaptions. Advancing players should consult a good fingering chart (such as Stefanie Gardner’s bass clarinet chart) for differences. (Or even better, get a private teacher.) Note in Dr. Gardner’s chart some differences from B-flat clarinet: the use of the left hand index finger vent for C-sharp6 through G6, and the special fingerings for the extra keywork for notes below E3, if available on your instrument.

    Happy practicing!

  • Woodwind Doubler Census 2021 results, part 5 (final): self-identification

    Thanks to all who participated in my 2021 woodwind doubling survey, and to those who helped spread the word. I’ve released the results in installments, so be sure to check out the rest.

    I got 284 responses, an improvement over 2011’s 187. The numbers for each of these questions don’t necessarily add up to exactly that number, since not everybody responded to every question.

    In the final section of the survey, I gave respondents the option to identify and tell me a little about themselves, including their names, locations, affiliations, websites, and other comments. I’m not sharing personally-identifiable information here, but I’ll respond in a general way to each question.

    What is your name?

    Almost 180 of you identified yourselves by name. It was lots of fun to scroll through see musicians I know and have worked with, who I have connected with online, and even some of my heroes and role models. And it was also very cool to see lots of names I didn’t know (yet). If you’re out there and would like to connect, I hope you will feel free to reach out.

    Where do you live?

    I’m sharing these sorted alphabetically and lightly edited.

    19047
    Ada, OK
    Ada, Oklahoma
    Archer City, Texas
    Arizona
    around Boston
    Around Raleigh, North Carolina
    Asheville, NC
    Ashland, KY
    Atlanta
    Auburn, ME
    Austin TX
    Austin, TX
    Australia
    Baltimore, MD area
    Bangkok, Thailand
    Berlin, CT
    Birmingham, England (studying)
    Bolivar, MO
    Boston
    Boston
    Boston-area
    California
    Cambridge, UK
    Canada
    Centra Michigan
    Charlotte, NC
    Chatham, Ontario, Canada
    Chicago
    Chicago Suburbs
    Chicago suburbs
    cincinnati
    Cleveland OH
    Coburg, OR (but still gig in San Jose, CA, my previous residence)
    Colorado
    Comerío, Puerto Rico.
    Connecticut
    Conroe, TX (40 miles north of downtown Houston)
    Coopersburg, PA
    Corvallis
    Covington, LA
    Currently in Tampere, Finland; usually SoCal/ SF Bay Area
    Dallas – Fort Worth Area
    Dallas, Texas
    Dallas, TX
    Dallas/Fort Worth region
    Darien, IL
    DC area
    Durant, Oklahoma / Las Vegas, Nevada
    East Bay of SF Bay Area
    East Lansing, MI
    Eastern Mass
    Eastern North Carolina
    Edmonton, Alberta, Canada
    Eugene, Oregon
    Fargo ND
    Fargo, ND
    Finger Lakes region of New York
    Florida
    Fort Worth, Texas
    Fresno, Ca.
    Germany
    Germany
    Grand Rapids, Michigan
    Greater Vancouver, BC, Canada
    Greensboro, NC
    Greensboro, NC
    Greensboro, North Carolina
    Hamels, Braughing, Hertfordshire, England
    Hampton Roas, VA
    Harrisburg, PA
    Hong Kong
    Honolulu, Hawaii
    Houston
    Houston TX
    Houston, TX
    Ihio
    Indiana
    Indianapolis
    Indianapolis
    iowa
    Iowa USA
    Jersey City
    Kanagawa, Japan* (originally from Maine)
    Kansas
    Kansas
    Kansas City metro area
    Lancaster area PA
    Lancaster, CA
    Las Vegas
    Las Vegas
    Little Rock, Arkansas
    Liverpool, NY
    London
    London
    London and Cape Town
    Long Beach, CA USA
    Los Angeles
    Los Angeles
    Los Angeles/Orange County, CA
    Madeira Beach, FL
    Manhattan and Connecticut
    Melbourne, Australia
    Melbourne, Australia
    Melbourne, Australia
    Memphis
    Memphis
    Memphis, TN
    Memphis,TN USA
    Metro Atlanta
    Miami, FL
    Miami, Florida
    Michigan
    Middleton Massachusetts
    Midwest U.S.
    Milwaukee
    Milwaukee
    Milwaukee
    Milwaukee WI
    Minneapolis
    Minneapolis, MN
    Minnesota
    Mississippi
    Mississippi
    Montgomery, AL
    Murfreesboro
    Myrtle Beach, SC
    Nashville, TN
    Nashville, TN
    Nashville, TN
    Near Eugene Oregon
    Nebraska
    Nevada
    New England, USA
    New England, USA
    New Jersey
    New Jersey
    New Jersey, US
    New Orleans
    New York
    New York City
    New York City
    New York City
    New York City Metro area
    New York, Montreal, and Florida
    New York, NY
    North Kingstown, RI
    North Texas
    Northeast Ohio/Western PA
    Northeast Tennessee
    Northeast U.S.
    Northeastern and Central Pennsylvania
    Northern California
    Norway
    NY
    NY area
    NYC
    NYC
    NYC
    Ocean Reef, Perth, Western Australia
    Ohio
    Ohio
    Oklahoma City
    Oregon
    Oregon
    Orlando, Florida
    Oxford, UK
    Pennsylvania
    Perth
    Perth, Western Australia
    Pickering, ON Canada
    Piedmont Triad Area of North Carolina
    Pittsburgh
    Pittsburgh, Pa.
    Preston, UK
    Queensland, Australia
    Reno, NV
    San Antonio
    San Antonio TX
    San Antonio, TX
    San Francisco
    San Fransisco Bay Area
    San Jose
    San Jose, CA
    San Jose, CA
    San Jose, CA
    San Jose, CA
    San Jose, CA
    San W
    Saskatchewan, Canada
    Scenic Martin, TN
    Scotland
    Scotland
    Seattle, WA
    SF Bay Area
    SF Bay Area
    SF Bay Area
    SF Bay Area
    SF South Bay Area
    SF South Bay Area
    Singapore
    SLC Utah
    South Eastern Wisconsin, USA
    southern Virginia
    Springfield, MO
    St Andrews
    St Paul/Minneapolis
    St. Louis area
    St. Louis, MO
    State College PA
    Sussex, Wi
    Tampa Florida
    Teaneck, NJ
    Tennessee
    Toronto
    Toronto
    Toronto CA -> Greensboro,NC
    Toronto, Canada
    Troy, AL
    Trumansburg, NY
    UK
    Urbana, IL (& Springfield, IL)
    Va Bch, VA.
    Washington, DC
    Washington, DC
    Washington, DC metropolitan area
    Wellington, New Zealand
    Will be moving to Denton, Texas
    Yorkton, Saskatchewan, Canada

    What is your main gig, performing group, teaching institution, etc.?

    I have edited a number of these (the asterisks are mine) in cases where, based on my best judgment, I felt strangers might be able to identify you through web searches.

    *** Big Band
    *** College/*** Community College/*** College/private studio/*** Festival Orchestra/*** Philharmonic
    *** County Schools, Freelance musician
    *** Ensemble, Broadway shows, recordings, *** College of Performing Arts
    *** Episcopal School
    *** High School (band director)
    *** Jazz Band
    *** London West End
    *** Middle School (Teacher)
    *** Musician
    *** Quartet, Goodspeed Musicals, Playhouse on Park, etc.
    *** Symphony Orchestra (Assistant Principal Bassoon/ Contrabassoon and much of the Saxophone work), teach at the University of ***, lots of studio recording sessions.
    *** Symphony Orchestra, Bassoon
    *** University graduate teaching assistant
    *** Videogame Symphony
    *** Winds, Ballet *** Orchestra
    ***Winds, ***, ***
    2nd Alto Sax, US Navy Band *** Jazz Ensemble
    6-12 band director
    A school big band
    ABRSM
    Air Force, formerly with a regional band, but now assigned a non-music job
    Alabama State University
    Band Director – High School
    Band instrument repair
    Bar gigs w/ a combo
    Before the pandemic I was regularly doing musical theatre work 3/4s of the year and also was doing a fair bit of big band playing as well. The big band and various offshoots of it play pre 1940s swing music and some smaller “Dixie” stuff so there’s a lot for me to do on clarinet. I also teach privately at a school system and a music store and was leading an after school ensemble and doing sectional work with the other bands at the school system. Those ended up being fairly evenly split, and then I would pick up various odd work at studio sessions or local bar gigs
    Big band jazz
    Broadway
    Broadway and Lincoln Center
    Broadway pits
    Certified bad*** (jk, picking up jobs when I can/doing musicals)
    Church and Various community bands
    Church Music Director
    Church of ***, Music Director and keyboardist
    Coastal Carolina University
    Community band/ musicals
    Community bands
    Community Bands – 4 of them.
    community orchestra
    Community theater
    Community wind ensemble
    Cruise ship musician (saxes, flute, piccolo, clarinet)
    Currently all virtual – mostly with the Royal Canadian Naval Reserves at ***.
    Currently RSO/VVGO/various guest player roles at Chinese orchestras in Singapore
    Currently teaching orchestra.
    DMA student at the University of ***
    Elementary Music Teacher
    Everywhere 😂
    Fargo Moorhead Community Theatre
    Free-lance musician
    Freelance
    Freelance
    Freelance musician around the west end and London
    Freelance teaching and performing
    Freelance woodwind specialist, director of local volunteer big band (Ensemble Swing Time), Singer
    Freelancer / university adjunct
    Going to the *** College of Music and Drama for Oboe Performance (with a touch of Woodwind doubling) this september
    High School
    High School Teacher
    Home based teacher
    I am a high school student at *** High School
    I attend Brandon University
    I play the flute family for the *** Symphony Orchestra
    I primarily teach private students.
    I work at *** full-time during the days, and sub regularly on Broadway on nights and weekends (under normal circumstances)
    I’m in high school so this doesn’t apply
    Instrument repair
    Instrument Repair at ***
    Jazz Big Band
    Just freelance
    Local high school and regional theater
    Local theatre groups
    Mainly in undergrad jazz band and concert band
    Mars Hill University
    Mid-*** Symphony, *** Jazz Band
    Middle school music teacher, play in local symphony and a collegiate wind orchestra
    Military Band
    Military musician and private teacher
    Missouri State University
    Music bachelors student
    Music education undergrad
    Music teacher/Teaching artist
    Musical instrument repair/orchestral oboe.
    Musical theater, church
    My band, The ***
    My online business as a content creator and educator
    National or international tours.
    No main gig during The pandemic.
    No main gig.
    None, teach at *** College, produce concerts at ***, run the *** Saxophone Quartet,
    North Carolina State University
    Nowadays it’s mostly University ensembles in Cambridge
    Performing
    Performing
    pit orchestra
    playing in musical orchestras/ bands
    Playing in musical theater pits
    Playing on Broadway
    Playing: Civic Theater and the *** Jazz Orchestra. Clarinet teacher for local school district.
    Private instructor, various big bands, west coast style combo and various pits when they come up
    private lessons at *** Music
    Private lessons teaching
    Private Studio
    Private Studio
    Private teacher & reed maker out of my home
    Private teaching studio
    Private woodwind teacher & freelance musician
    Prof. of Music, The University of ***
    Professional and community theatre pits. Too many to list.
    Professional orchestra librarian
    Professor at *** University
    Professor at NDSU
    Put work
    Recent college graduate, premed, member of *** (funk group), and jazz musician/woodwind instrumentalist
    Regional big band & GB
    Regional Broadway caliber theater productions and local hire for national tours.
    Regional theater, private lessons
    Retired
    Rockland County Concert Band
    Royal Birmingham Conservatoire (studying)
    Sam Houston state
    Saxophone with ***
    School band
    Schriener University
    Self-employed
    senior in college, about to student teach
    simpson college
    Six Flags
    Small School Band Director
    Software Engineer
    solo jazz performer
    Southwest *** Community College
    Stockton CA
    Student
    Student
    Student right now
    Substitute teacher specializing in music
    Teach at ***. Play gigs w/my jazz combo.
    Teacher (Elementary)
    Teaching and free lancing.
    Teaching and instrument repair
    Teaching at a school(still a uni student)
    Teaching Bassoon Lessons
    Teaching middle school band
    teaching private lessons
    Teaching the reed studio at *** University.
    Teaching: *** Music (lesson studio and music store) | Playing: *** (amusement park) Dixieland Band
    The *** Quartet (baritone chair), freelancer/soloist, Orchestra of ***
    Theater
    Theater Musician
    Theatre
    There are several
    Touring Musician (Broadway shows)
    UNC Charlotte
    Univ. of ***, *** Technical College
    University adjunct professor, Broadway touring shows (local hire) and local theater company.
    University as a student
    University New Music Ensemble
    University of *** *** Society (the musical theatre society)
    University of Nevada, Reno
    University of North Carolina School of the Arts
    University of Oregon
    University of Texas at San Antonio/private lessons (self employed)
    University Professor an conductor
    University student with some private teaching and freelancing
    US Army Musician
    US Navy Pacific Fleet Band
    Varies
    VVGO, RSO, UFB – virtual ensembles.
    WAAPA – Western Australian Academy of Performing Arts
    Weddings
    Western Australian Academy of Performing Arts
    Will be attending UNT
    Youngstown State University

    What is your website address?

    Lots of you shared websites. In cases where I could locate a relevant and reasonably-fresh RSS feed, I’ve added them to my feed reader, which also puts them on my public blogroll.

    Any other comments you would like to share?

    Some of you took this opportunity to share some general thoughts about woodwind doubling, to expand upon your biographical details or musical experiences, or to offer critique/commentary on the survey itself. Many of you were also kind enough to express appreciation for the survey, my blog, and other resources on my website. It was deeply gratifying and also super weird to hear from a few of you that you drew inspiration from my website as kids and are now working musicians, graduate students, etc. Anyway, thanks for taking the time to say hello or share a few thoughts.

    In conclusion, thanks once again to all for your participation, readership, and friendship. It was great to hear from so many of you, and I hope to do it again in 2031.

  • |

    Woodwind Doubler Census results, part 3: education and training

    More results from the Great Woodwind Doubler Census of 2011. Enjoy!

    Education and training

    Q: Which of these have been part of your education on woodwind instruments?

    Out of 187 total respondents, every one answered this question. The complete wording of the possible responses was as follows:

    • school band/orchestra program (high school or younger)
    • private lessons outside of school
    • summer camps, workshops, or other formal programs outside of school
    • university band/orchestra program
    • university/conservatory bachelors degree with concentration(s) in multiple woodwinds
    • university/conservatory bachelors degree with single-instrument or other music concentration
    • university/conservatory masters degree with concentration(s) in multiple woodwinds
    • university/conservatory masters degree with single-instrument or other music concentration
    • university/conservatory doctoral degree with concentration(s) in multiple woodwinds
    • university/conservatory doctoral degree with single-instrument or other music concentration
    • other university/conservatory music degree or certification
    • self-taught on one or more instruments

    The biggest surprise to me was the number claiming bachelors degrees in multiple woodwinds. I assume that many of these must be double majors or other oddities, since there are very few true bachelors degree programs in multiple woodwinds available.

    Read More “Woodwind Doubler Census results, part 3: education and training”

One Comment

  1. I know this is a few years on, however I just stumbled over this post and thought I’d contribute.

    I normally use either “multi-woodwind player” or “multi-woodwind musician” (the last word dependent on whether I think the person I’m speaking to will understand what I mean by ‘player’). The inevitable (and loathed) follow-up question nearly always asks for a number to replace the ‘multi’.

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